I watched Joy Hanuman (2024) – an Assamese film in an almost empty cinema hall near my house. It’s a pity that not many people know about its existence. Directed by Himanshu Prasad Das, it has been categorized as an action, mystery and thriller film in BookMyShow. But after a careful watch, I would say it is a social drama with creative cinematographic brilliance. It is a telling social commentary on Assam’s existing political scenario. Mixed with comedy and action, Joy Hanuman uses storytelling to communicate its message to the audiences.
I was introduced to Das’ powerful storytelling through his 2022 production Bulu Film, and as such, my expectations from Joy Hanuman were high. At a time when the Assamese film industry is trying to rediscover itself in the face of stiff competition from Bollywood, OTT platforms, and mobile theatre, Joy Hanuman delivers a powerful message about the role of cinema in society. Art has always been political in the sense that it is resistance against power and authority. Otherwise, art ceases to be art itself.
The idea of superheroes in films has always thrived on how superheroes (Batman, Superman, etc.) become saviours in societies that show increasingly declining social and moral order. Some markers include rising crimes and corruption. Joy Hanuman is no different in this case. The title of the film is a clever play on Lord Hanuman’s name – a Hindu deity who is known for his righteousness, courage and strength.
More importantly, Hanuman played a key role in the battle between Rama and Ravana as depicted in the Hindu mythological epic Ramayana. He took the side of what is the truth. In the film, Joy – a university student is nicknamed Hanuman after he plays the role of Lord Hanuman in a varsity play.
He is also known for his muscle power. However, interestingly, Joy is not a fan of the nickname and often gets angry at his peers for getting called Hanuman.
But his senior – JK’s persuasion and circumstances ensure that Joy assumes the role of Hanuman in real life as well. While preparing to go on stage to play the role of Lord Hanuman for the last time in his university life, Joy witnesses a gruesome attempt at a child’s rape. This makes him leave the green room and rescue the young girl while wearing the makeup and clothes of Lord Hanuman.
This is the scene which marks a transformation in Joy’s life. He realizes that there is a need for a ‘Hanuman’ (a righteous superhero) to fight against existing social disorders like rape.
Very soon, the city is rocked by the news of a gang rape of a young woman in which a young university canteen worker (Jitu) is encountered by the police. While the rest of the society, including other students, see it as a symbol of justice, Joy and JK are convinced about the worker’s innocence.
The rest of the film is about their journey to prove the young boy’s innocence.
I will not delve into further details about the film’s content but make a few observations on its storytelling. Firstly, one can see how social media has become an integral part of people’s lives. Earlier, when there was any ‘breaking news’, people would turn to the television to consume it.
However, it is now social media that has taken over the television’s place. In Aziz Mirza’s 2000 film Phir Bhi Dil Hai Hindustani, television becomes the mode through which Mohan Joshi’s character gets justice. In Joy Hanuman, the same role is played by Facebook as Bikash Dutta – the antagonist – confesses his crimes on a live video.
There is also the clever usage of social media’s role in both criticizing and praising the state and police’s actions during the gang rape. Screenshots of users posting their opinions on Facebook about the gang rape, the inefficiency of the police and the justification of the encounter highlight how social media has become an everyday part of public sphere discussions. Jitu’s framing as a culprit and the subsequent encounter is influenced by the public’s demand for state action.
Secondly, the nexus between politics and business as depicted in the film is interesting. It has become a common theme in many recent Assamese films (including Bidurbhai) which illustrates how the relationship between politicians and businesses is perceived. One can see the changing nature of Assamese society with business owners becoming more and more influential in political decision making.
Das’ film also uses the character of Riya – a conscientious journalist to prove Jitu innocent. In contemporary times, the media has been critiqued for its role in spreading state propaganda and misinformation. Many films too have shown how the syndicate between large media corporations, businesses and politicians operate.
As such, Riya’s role in the entire episode is refreshing as she uses her journalistic skills and privileges for the greater social good. Perhaps it is the filmmaker’s optimism in good journalism that is reflected in this characterization.
Lastly, Joy and JK are students. I feel this sends a powerful message about how students are still the hope in a society marred by disorders. They know how to distinguish between the right and the wrong and take the correct stand. The role of students has been central in both national and local politics.
As such, the film’s use of Joy (a student and a young person) as a superhero is reminiscent of the angry young man’s character played in several movies (Zanjeer, Deewar, etc.) by Amitabh Bachchan. Joy and JK are angry too. They are angry with the system, the society and their peers. Joy Hanuman is the story of their resistance against injustice. And that is what makes it intriguing in the present context.
The author teaches Sociology at the Department of Humanities and Social Sciences, Indian Institute of Technology (IIT), Guwahati. She is one of the co-founders of Doing Sociology – an academic e-resource dedicated to making sociological knowledge accessible to the public.
Also Read: Killed in Gaza, buried in Aizawl: Remembering Lalzawmi Frankcom